Tuesday Musical March 1 Concert

tuesday musical Presenting the finest 2016-2017 Season

St. Petersburg Philharmonic Orchestra with Nikolay Alexeev, conductor Nikolai Lugansky, piano Margaret Baxtresser Annual Piano Concert March 1, 2017

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tuesday musical presents

Escher String Quartet

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nspired by artist M.C. Escher’s interplay among individual components working together to form a whole, this string quartet has emerged as a favorite of Tuesday Musical audiences.

That popularity has led Tuesday Musical to name Escher as our first Quartet-in-Residence, a multiyear performance and education initiative that began this concert season.

Championed by the venerable Emerson String Quartet, Escher also serves as artists of The Chamber Music Society of Lincoln Center and Quartet-in-Residence at Southern Methodist University.

Wednesday, April 26, at 7:30 p.m.

EJ Thomas Hall Pre-concert talk at 6:30 p.m. with members of Escher and Eric Kisch of “Musical Passions” on WCLV-FM Classical 104.9

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The Margaret Baxtresser Annual Piano Concert Endowment Fund

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uesday Musical Association wants to express its deep appreciation for your continued support of The Margaret Baxtresser Annual Piano Concert •Endowment Fund. Your contribution to this fund gives a lasting voice to Margaret’s objective of presenting the world’s greatest pianists in Akron. It also helps maintain the legacy that this extraordinary woman left for us all to remember.

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concert series

The University of Akron EJ Thomas Performing Arts Hall Wednesday, March 1, 2017, 7:30 pm

St. Petersburg Philharmonic Orchestra Nikolay Alexeev, conductor with

Nikolai Lugansky, piano

Tuesday Musical’s Margaret Baxtresser Annual Piano Concert

Johannes Brahms Piano Concerto No.1 in D minor, Op.15 (1833-1897) I. Maestoso

II. Adagio

III. Rondo: Allegro non troppo

Nikolai Lugansky, piano INTERMISSION

Dmitri Shostokovich Symphony No. 10 in E minor, Op. 93 (1906-1975) I. Moderato

II. Allegro

III. Allegretto

IV. Andante; Allegro Tonight’s pre-concert talk was presented by Steinway Artist Caroline Oltmanns, Professor of Piano at Youngstown State University.

Nikolai Lugansky performs tonight on Tuesday Musical’s “Three Graces” Steinway Concert D piano. www.philharmonia.spb.ru Rosneft – Title Partner of the D.D. Shostakovich Saint Petersburg Academic Philharmonia Mr. Lugansky is represented by Opus 3 Artists.

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The Gertrude F. Orr Trust Advised Fund of Akron Community Foundation is a sponsor of this evening’s performance.

Among Our Season Supporters:

Presenting the Finest

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OBERLIN COLLEGE & CONSERVATORY

ARTIST RECITAL SERIES MARILYN HORNE MASTER CLASSES 8 PM FRIDAY, FEBRUARY 17 & 2 PM SUNDAY, FEBRUARY 19, 2017

TAFELMUSIK Performing Bach’s The Circle of Creation 8 PM TUESDAY, FEBRUARY 28, 2017

RICHARD GOODE, PIANO Performing Beethoven sonatas spanning the composer’s three style periods 4 PM SUNDAY, APRIL 9, 2017

THE CLEVELAND ORCHESTRA With music by Delius, Vaughan Williams, and Strauss 8 PM FRIDAY, APRIL 21, 2017 Artists and dates are subject to change. For ticket information, call 800-317-0178 or visit oberlin.edu/artsguide.

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The Artists

tuesday musical concert series 2016 | 2017

Russia’s legendary

St. Petersburg Philharmonic Orchestra

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he St. Petersburg Philharmonic Orchestra — part of the world’s elite and historically the most important of the Russian orchestras — began with a July 1882 decree by Alexander III initiating the creation of the Court Choir.

Transformed into the Court Orchestra at the beginning of the 20th century, the orchestra then performed the symphonic poems The Life of a Hero and Thus Spake Zarathustra by Richard Strauss, Mahler’s First Symphony and Bruckner’s Ninth Symphony, Scriabin’s Poem of Ecstasy and Stravinsky’s First Symphony. Nikish and Strauss conducted the orchestra as well as Glazunov, who dedicated his Festival Overture to the orchestra. In 1917, the Court Orchestra became the State Orchestra.

In 1921, given the hall of the former Noble Assembly, the orchestra opened the country’s first Philharmonic. The unprecedented-in-scale activities of the orchestra drew a new classicalmusic audience. Such legendary Western conductors as Walter, Weingartner, Abendroth, Fried, Kleiber, Monteux and Klemperer led the orchestra, while Horowitz and Prokofiev were among the soloists. The orchestra mastered a vast contemporary repertoire; in 1918 it presented the premiere of Prokofiev’s Classical Symphony and, in 1926, Shostakovich’s First Symphony.

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In 1934 the orchestra was awarded the title “Honored Collective of the Republic” — the first in the country. The year 1938 ushered in a halfcentury of the “Age of Mravinsky,” and under that conductor’s baton the orchestra earned a place among the world’s most prominent. In 1946 the orchestra embarked on its first foreign trip — and gave its first overseas performance in the country’s symphonic performance history. This was followed by regular tours around the world, performing at the most prestigious European festivals. A unique and creative alliance formed between Shostakovich and Mravinsky, to whom the composer devoted his Eighth Symphony.

The conductor and the orchestra performed five Shostakovich symphonies for the first time.

A tradition of an original interpretation of famous scores was born, and music of the 20th century assumed a significant role in the orchestra’s repertoire. Alternating as the second conductor of the orchestra were Sanderling, L. Jansons and M. Jansons. At the podium were Stokowsky, Maazel, Mehta, Masur, Svetlanov, Rozhdestvensky and soloists included Cliburn, Gould, Michelangeli, Stern, Richter, Gilels, Oistrakh, Virsaladze, Petrov, Sokolov, Tretyakov, L. Kogan, Gutman, Krainev, Spivakov, and Lyubimov.

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The Artists The orchestra’s repertoire is constantly being updated with new works. Among the most recent are the Russian premieres of Nono’s interrupted Song, Penderecki’s Polish Requiem and the Borisova-Ollas’ First Symphony. Last season saw the orchestra touring to Milan’s La Scala and Rome’s Academy of Santa Cecilia, London’s Royal Albert Hall, the Paris Theatre des Champs Elysees, Madrid’s National Music Auditorium, Jurmala’s Dzintari, Tokyo’s Suntory Hall, and the Beijing Concert Hall in the Forbidden City, where the musicians performed as part of the “Day of Russia in the World” project.

This season, the orchestra is touring to France, Switzerland, Netherlands, United Kingdom, Spain and the United States.

Tuesday Musical’s 2017 Margaret Baxtresser Pianist

Nikolai Lugansky

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escribed by Gramophone as “the most trailblazing and meteoric performer of all,” Nikolai Lugansky is a pianist of extraordinary depth and versatility.

Concerto highlights for this 2016-17 season include his debuts with both the Berliner Philharmoniker and Wiener Symphoniker; return engagements with the Philharmonia Orchestra, St Petersburg Philharmonic, Orchestre National de France, Philadelphia Orchestra, St. Louis Symphony and the Tokyo Metropolitan Symphony.

Lugansky continues his cycle of all of Prokofiev’s piano concertos with the Royal Scottish National Orchestra to celebrate the 125th anniversary of the orchestra and birth of the composer.

Upcoming recital performances include the Alte Oper Frankfurt, London’s Wigmore Hall, Paris’ Théâtre des Champs-Elysées, Geneva, Budapest, the Great Hall of the Moscow Conservatoire and the Great Hall of the St. Petersburg Philharmonia.

Lugansky regularly appears at some of the world’s most distinguished festivals, including in the coming season: La Roque d’Anthéron, Verbier, Tanglewood and Ravinia.

An award-winning recording artist, Nikolai Lugansky’s recital CD featuring Rachmaninov’s Piano Sonatas won the Diapason d’Or and an ECHO Klassik Award while his recording of concertos by Grieg and Prokofiev with Kent Nagano and the Deutsches Symphonie-Orchester Berlin was a Gramophone Editor’s Choice. His earlier recordings have also won a number of 12

awards, including a Diapason d’Or, BBC Music Magazine Award and ECHO Klassik prize.

Lugansky’s most recent disc of Schubert C minor sonata and Impromptus D.935 was released in 2016. A new recording of Tchaikovsky’s Grande Sonata and The Seasons is due for release in early 2017.

Nikolai Lugansky studied at Moscow’s Central Music School and the Moscow Conservatoire where his teachers included Tatiana Kestner, Tatiana Nikolayeva and Sergei Dorensky. He was awarded the honor of People’s Artist of Russia in April 2013.

He is artistic director of the Tambov Rachmaninov Festival and is also a supporter of, and regular performer at, the Rachmaninov Estate and Museum of Ivanovka.

On the podium this evening

Nikolay Alexeev

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ikolay Alexeev, deputy Artistic Director of the St. Petersburg Philharmonia, graduated from the Leningrad Choral College and the Leningrad Conservatory.

The creative activity of Alexeev — laureate of international contests such as the Herbert von Karajan Foundation (West Berlin, 1982), V. Talich (Prague, 1985) and Min-On (Tokyo, 1985) — is extremely rich. He led the Orchestra of the tuesdaymusical.org n 330.761.3460

tuesday musical concert series 2016 | 2017

Zagreb Philharmonic, conducted the Moscow Philharmonic Orchestra, the Bolshoi Symphony and the Russian National Orchestra.

He has worked with such orchestras as the Royal Concertgebouw Orchestra, the philharmonic orchestras of Rotterdam, Dresden, Stuttgart and Copenhagen, the symphony orchestras of Berlin and Baltimore, the Liverpool Royal Philharmonic Orchestra and the Scottish BBC Symphony orchestra and the New Japan Philharmonic.

From 2001-2010, Alexeev led the oldest orchestra in the Baltic States: the Estonian National Symphony Orchestra, for which he was awarded the State Culture Prize of the Republic of Estonia.

Since 2000, Nikolay Alexeev has been the conductor of the St. Petersburg Philharmonic Orchestra. The musician’s repertoire encompasses the Viennese classics, works by Tchaikovsky and Shostakovich. With Nikolay Alexeev, the orchestra has performed all Brahms symphonies, a number of works by Stravinsky and Prokofiev, Mahler’s Eighth Symphony, Songs Gurria by Schoenberg and Turangalilu by Messiaen. The conductor regularly introduces the audience to new compositions. Thus, Tishchenko’s Second and Fifth Dante Symphony, Slonimsky’s Thirteenth Symphony, Korolev’s Figure of Speech and Heretic, Korchmar’s Royal Chants, the Russian premieres of the First Symphony and Wunderbare Leiden by Borisova-Ollas, the St. Petersburg premieres of Shchedrin’s Concerto Cantabile and Paganini’s Fifth Violin Concerto all first sounded with Alexeev at the podium.

Presenting the Finest

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The Artists

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Nikolay Alexeev’s plans for this 2016-2017 season include collaborating with the State Hermitage Museum. One of the subjects will be the Gospel parable of the Prodigal Son, and the performance of the Island of the Dead by Rachmaninoff with the demonstration of an image of Böcklin’s picture, with the same title, on the screen. Other ventures include the premiere of Rachmaninoff’s First Symphony, performed in the Piano and Orchestra version by Varenberg (who previously transcribed the Second Symphony into the Concerto for Piano and Orchestra No.5), and the journey through the pages of the musical Faustiana (Liszt, Wagner, Berlioz, Gounod and Slonimsky), the new Philharmonic concert series devoted to the works of Dvorˇák, as well as one of the events of the “Arts Square” Festival: the performance of Scriabin’s Prometheus, including the light show envisioned by the composer.

The artist’s creative partners are pianist Nikolai Lugansky (on EJ’s stage this evening) and cellist Alexander Knyazev.

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ST. PETERSBURG PHILHARMONIC ORCHESTRA U.S. tour February-March 2017 First Violin Lev Klychkov – Concertmaster Pavel Popov Alexander Zolotarev Iurii Ushchapovskii Valentin Lukin Tikhon Lukianenko Olga Rybalchenko Anna Fenster Natalia Sokolova Sergei Teterin Vera Vasileva Nikolai Tkachenko Aisylu Saifullina Sergei Tiutiunik Tatiana Makarova Iaroslav Zaboiarkin Lev Mikhailovskii Grigory Sedukh Second Violin Ilia Kozlov – Principal Igor Zolotarev Tatiana Shmeleva Dmitrii Petrov Liubov Khatina Ekaterina Belaya Dmitrii Koriavko Argine Stepanian Ruslan Kozlov Elizaveta Petrova Nikolai Dygodyuk Konstantin Basok Mariia Irashina-Pimenova Mikhail Alekseev Semen Klimashevskiy Vladimir Shuliakovskii Viola Andrei Dogadin – Principal Iurii Dmitriev Aleksei Bogorad Denis Gonchar Dmitrii Kosolapov Konstantin Bychkov Iosif Nurdaev Mikhail Sokolov Aleksandr Chizhov Leonid Lobach Anton Shestakov Dmitrii Kreshchenskyi Alexey Koptev Elena Panfilova Cello Dmitrii Khrychev – Principal Taras Trepel Sergei Cherniadev Nikita Zubarev Aleksandr Kulibabin

Presenting the Finest

Dmitry Eremin Andrei Efimovskii Mikhail Slavin Nikolai Matveev Stanislav Lyamin Evgenii Kogan Double Bass Artem Chirkov – Principal Rostislav Iakovlev Oleg Kirillov Nikita Makin Mikhail Glazachev Nikolai Chausov Aleksei Ivanov Aleksei Chubachin Nikolai Syrai Arsenii Petrov Flute Marina Vorozhtsova – Principal Dmitry Terentiev Olesia Tertychnaia Olga Viland Flute Piccolo Ksenia KuelyarPodgaynova Oboe Artem Isaev – Principal Pavel Sokolov Artem Trofimenko English Horn Mikhail Dymskii Clarinet Andrei Laukhin – Principal Nikita Liutikov Denis Sukhov Aleksandr Vasilev

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Program Notes Johannes Brahms (1833-1897) Concerto for Piano and Orchestra No. 1, in D minor, Op. 15

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he history of this piano concerto begins in 1854, when Brahms showed Schumann’s wife, Clara, who was one of the greatest pianists of the time and also a composer, movements of a symphony he had sketched.

They played it at two pianos, and friends who heard it suggested that it could be made into a concerto.

For four years, Brahms worked over this music, composed a new third movement (the original one became part of his German Requiem, Op 45, of 1868) and in 1858, completed the concerto. It was first performed January 22, 1859, with the composer as soloist and his friend, Joseph Joachim, conducting.

Audiences and musicians both resisted the fiercely difficult concerto, not a virtuoso’s showpiece of the kind favored at the time. In Germany, it was not a success until two years before Brahms’s death, and in the United States,

it was hardly performed at all until 1900. Now it is one of the most admired and often performed works in the repertoire, a huge, solemn piece of incomparable grandeur.

A substantial work, it was, at the time of its composing, the longest concerto ever published.

The first movement, Maestoso, is a majestic and monumental structure without equal in its era except perhaps, on a less grandiose scale, in Beethoven’s Emperor Concerto. It is tumultuous and dark in the beginning with a long orchestral passage in which the strings state the main theme over a timpani roll, before the piano joins in. The piano’s first entrance is energetic, and it becomes, later in the movement, gentle and expressive.

After the lyrical section, the movement then fulfills Joachim’s hopes that it be “appropriately magnificent . . . [and] commensurately elevated and beautiful.” An elaborate development section is followed by a brilliant coda. Brahms once suggested that the grave slow movement, Adagio, was inscribed Benedictus qui venit in nomine Domine (Blessed is he who comes

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in the name of the Lord) in memory of Robert Schumann, and at another time, he said that it was a lovely portrait of Clara. To both, it seems, Brahms has paid homage by musically projecting his love (and his pain) in this romanzalike movement. It is based on a poetic theme that the piano takes up after its initial statement in the strings and bassoons. The clarinets introduce a subsidiary theme in the contrasting middle section. The final Rondo, Allegro non troppo, recalls the music of gypsies that Brahms had first learned from the Hungarian violinist with whom he first met the Schumanns. Joachim put the spirit of the Brahms music into words quite accurately when he described this movement’s themes as “the pithy, bold spirit of the first theme [and] the intimate and soft B-flat Major passage.” The movement brings the concerto to an end with a long and brilliant coda after a piano cadenza.

The orchestra is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings.

Presenting the Finest

Dmitri Shostakovich (1906-1975) Symphony No. 10, in E minor, Op. 93

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en has long been a problematic number for composers of symphonies. Beethoven famously wrote nine, and both Bruckner and Mahler wrote nine symphonies but were superstitious about a tenth. Mahler avoided the issue by calling one of his ten completed symphonies a “songsymphony,” and thus giving it no number. When he died, he left an incomplete tenth symphony that was actually his eleventh. Since the time of Haydn and Mozart, the only well-known composer to have composed ten symphonies is Dmitri Shostakovich, who actually wrote fifteen symphonies.

Shostakovich completed his Tenth Symphony in October 1953; the Leningrad Philharmonic Orchestra gave it its successful premiere on December 17th. In 1954, and despite a mixed reaction in the United States, it won the New York Music Critics Circle Award as the outstanding new orchestral work of the year, yet in Moscow,

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Program Notes the composer was initially attacked for his pessimism and for favoring form over content.

The symphony was criticized for its generally dark mood because it seemed to deny heroism, but soon, influential voices spoke on its behalf.

The composer Aram Khachaturian said that it was “a true symphony of deep emotional and philosophical content.” After listening to his professional critics, Shostakovich said, “It would be much more interesting to me to know what the listener thinks. I wanted to portray human emotions and passions,” and, he added, he wished the symphony to describe the ideas and aspirations of people who love and strive for peace. Music critics, during the last half-century, have often called this work Shostakovich’s finest symphony.

Shostakovich denied the symphony had a program in the strict sense, but acknowledged that he wrote his reaction to Stalin into it. Stalin died a few weeks before Shostakovich began the work. He said: “I did depict Stalin . . . and no one has yet guessed what the symphony is about. It’s about Stalin and the Stalin years. The second part, the scherzo, is a musical portrait of Stalin, roughly

speaking. Of course there are many other things in it, but that’s the basis . . . [It is hard] to draw the image of leaders and teachers with music.

But I did give Stalin his due, the shoe fits, as they say. I can’t be reproached for avoiding that ugly phenomenon of our reality.”

The entire powerful symphony grows from a somber basic motto in the low strings at the very beginning of the first movement, Moderato.

Klaus George Roy, former annotator of The Cleveland Orchestra, pointed out that when a clarinet melody enters, it quotes a song from Mahler’s Second Symphony. The words of this melody, Urlicht (Primal Light) are “Man lies in direst need! Man lies in greatest pain.” The violins and eventually the whole orchestra pick up and develop this melody. The development section builds tension and reaches many climaxes before the pressure subsides and the lengthy movement finally closes quietly with the slow motto.

The second movement, allegedly a portrait of Stalin, is a short, agitated scherzo, Allegro, with strong percussion underpinnings. Its tone is bitter, harsh, intense, as well as terrifying.

The opening motto of the symphony, in

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Program Notes

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metamorphosis, becomes the principal theme of the milder, more agreeable third movement, Allegretto. Shostakovich calls the slow, serious contrasting middle section, Largo, a nocturne.

After this nocturne the music again becomes more animated and dramatic, but soon fades away with recollections of earlier themes. As the music critic Michael Steinberg pointed out, in this movement Shostakovich spells out his own initials in musical notation, using the German transliteration of his name, Schostakowitsch, and German notation. Based on a four-note motive, DSCH (the equivalent of our D, E-flat, C, and B) stands for D. Sch, and this theme, Steinberg reflects, indicates “the Stalin juggernaut is gone; it is the nervous Shostakovich himself who has made his apprehensive entrance.� Shostakovich announces his artistic identity, emerging after the repressive Stalin period had ended. A long and serious Andante introduces the finale.

Shostakovich converts one of its most emotional motives into a cheerful theme that begins the main portion of the movement, a spirited Allegro.

Another solemn, slow section quotes the third movement, notably the DSCH motive, but the animated, dance-like music returns, bringing the symphony to an energetic and possibly positive conclusion.

The symphony is scored for two piccolos, two flutes, three oboes, English horn, three clarinets, clarinet in E-flat, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, snare drum, cymbals, triangle, tambourine, tam-tam, xylophone and strings. Š Susan Halpern, 2017

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tuesday musical concert series 2016 | 2017

  

Our restaurants serve as the perfect prelude…

    

or encore.

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  

  

MONTROSE: 3885 West Market St. Akron OH 44333

HIGHLAND SQUARE: 867 West Market Akron OH 44303

www.MustardSeedMarket.com photo credit @rubbercity_foodie

Sponsored by The Margaret Clark Morgan Foundation.

tuesday musical OUT-OF-THE-BOX

Saturday, March 18, 2017 7 pm, Akron Art Museum

DEL SOL STRING QUARTET didgeridoo virtuoso Stephen Kent Del Sol and Stephen Kent interpret the string quartets of Peter Sculthorpe — one of Australia’s most-celebrated composers — and intergrate the indigenous wind instrument into their fascinating performances.

• • •

A collaboration with the Akron Art Museum. $25 in advance and at the door if seats are still available. Students always free.

Enjoy refreshments with the performers after the program.

tuesdaymusical.org Presenting the Finest

330.761.3460 21

2016-2017 Support: Individuals

T

uesday Musical gratefully acknowledges all donors this season. Because ticket sales cover only a small portion of what is needed to sustain the excellence of Tuesday Musical, every gift plays a significant role in the ongoing success of our Main Stage and Fuze concert series and Education and Community Engagement Programs.

This list reflects gifts received through February 8, 2017.

Director $5,000+ Stephen T. and Mary Ann Griebling Cynthia Knight Dr. Kenneth E. Shafer “Three Graces Piano”— Anonymous Linda and Jim Venner Benefactor $1,500 to $4,999 Anne Alexander Family of Jeanette Bertsch Diana and John Gayer Dr. DuWayne and Dorothy Hansen David and Margaret Hunter Peter and Dorothy Lepp Natalie, Paul and Stephen Miahky George Pope Donald and Corrinne Rohrbacher Lola Rothmann Dr. Pamela Rupert Tim and Jenny Smucker Tom and Meg Stanton Sustainer $700 to $1,499 Ron and Ann Allan Eleanor and Richard Aron Ann and David Brennan Denis and Barbara Feld Robert and Beverley Fischer Laurie and Mark Gilles Sue Jeppesen Gillman Howard Greene Jarrod Hartzler Bruce and Joy Hagelin Dr. Tom and Mary Ann Jackson Paul and Linda Liesem Charles and Elizabeth Nelson

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Dianne and Herb Newman Dr. Pat Sargent Richard Shirey Dr. Larry and Cyndee Snider John P. Vander Kooi Lucinda Weiss Janet Wright Patron $400 to $699 Drs. Mark and Sandra Auburn Lee and Floy Barthel Rebecca D. and William H. Considine John and Betty Dalton Nichole Depew Paul Filon Lois and Harvey Flanders Patricia Hartzler Lawrence B. Levey Mary Jo Lockshin Thomas and Cheryl Lyon Paul and JoAnn Marcinkoski Anita Meeker Russ and Marianne Miller Earla Patterson Ed and Maureen Russell Peter and Nan Ryerson Rachel R. Schneider Jean Schooley Sandra and Richey Smith Annaliese Soros Drs. Frederick and Elizabeth Specht Jennifer Stenroos Elizabeth and Michael Taipale Donor $200 to $399 Anonymous Jack and Bonnie Barber Anna Maria Barnum Cheryl Boigegrain Dr. Guy and Debra Bordo

Frances Buchholzer Alan and Sara Burky Dr. Herb and Jill Croft Jane Delcamp William and Barbara Eaton Jon A. Fiume Eleanor Freeman Paul and Michele Friday Jean F. Gadd Sharon Gandee Ted and Teresa Good Stephen and Mary Ann Griebling Louise and James Harvey Michael T. Hayes John and Suzanne Hetrick Loren Hoch John and Sheila Hutzler Mark and Karla Jenkins Susan and Allen Kallor Kathleen Lambacher Magdalena McClure John and Kristine Mogen Nathan J. and Karen L. Mortimer Bob Neidert Al and Judy Nicely Paula Rabinowitz and Greer Kabb-Langkamp E. G. Sue Reitz Ben and Sandra Rexroad Drs. Betty L. Rider and W. Mike Sherman Gloria J. Rodgers Donald E. Schmid and Rosemary Reymann Betty and Joel Siegfried Margo Snider Mike and Sandy Soful Charlotte Staiger Ann Tainer Bob and Colleen Tigelman Dina and Brooks Toliver Susan D. Van Vorst Jorene F. Whitney Christopher Wilkins

tuesdaymusical.org n 330.761.3460

tuesday musical concert series 2016 | 2017

5 a.m. to 9 a.m. on

Protection for the most important things in your life.

Call 1-877-724-8069 for a free quote, or visit us at 111 W. Center St. in Downtown Akron.

2016 2016–– 2017 2017 concert concert SeaSon SeaSon

save the date April 7, 2017 Greystone Hall, Akron

choral • ography \ˈkᴐɾʌlˈᴐɡɾʌfi\ (n) An interactive evening of choral music and dance.

syn. A benefit evening for Summit Choral Society.

Ilene Shapiro, County Executive County of Summit, Ohio Honorary Chair

: :

www.summitchoralsociety.org 330.434.SING [7464]

October October 16, 2016 2016 Winner Winner2016 2016International International Piano PianoCompetition Competition NIKITA NIKITA MNDOYANTS MNDOYANTS November November 6, 6, 2016 2016 Featured Featured Young Young Artist Artist The TheheIMAT heIMAT STrINg STrINg QuArTeT QuArTeT Patrick PatrickShaughnessy, Shaughnessy, violin; Aubrey AubreyHolms, Holms,violin; violin; Chung ChungHan HanHsiao, Hsiao, viola; Aaron AaronFried, Fried,cello cello February February 12, 12, 2017 2017 The TheClevelAND ClevelAND BluegrASS BluegrASS OrCheSTrA OrCheSTrA Mark MarkDumm, Dumm,banjo; banjo; Henry Henry Peyrebrune, Peyrebrune,guitar; guitar; Trina TrinaStruble, Struble, fiddle; fiddle; Derek Derek Zadinsky, Zadinsky,bass; bass; Jeff JeffZehngut, Zehngut, mandolin, mandolin,sax sax March March 12, 2017 2017 BlACK BlACK SQuIrrel SQuIrrel WINDS WINDS Danna DannaSundet, Sundet, oboe; oboe; Diane Diane McCloskey, McCloskey,flute; flute; Amitai AmitaiVardi, Vardi,clarinet; clarinet; Mark Mark DeMio, DeMio,bassoon; bassoon; Kent Kent Larmee, Larmee, horn horn April April 9, 2017 2017 OMNI OMNI STrINg STrINg QuArTeT QuArTeT Yung-Min Yung-MinAmy Amy Lee, Lee, violin; violin; Alicia AliciaKoelz, Koelz,violin; violin; Tanya TanyaEll, Ell,cello; cello; Joanna Joanna Zakany, Zakany,viola viola

For For TickeTs TickeTsand andinFormaTion: inFormaTion: visiT visiT MFTWR.oRg MFTWR.oRgor orcall call330-840-8429 330-840-8429

AllAllconcerts concertsbegin beginat at5:00 5:00 p.m. at at Christ ChristChurch ChurchEpiscopal.

Episcopal.

Presenting the Finest

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We are all about the patient. westernreservehospital.org

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tuesdaymusical.org n 330.761.3460

2016-2017 Support: Memorials & Tributes Memorial and tribute gifts to Tuesday Musical are meaningful ways to honor special people.

This list reflects gifts received through September 9, 2016.

In Memory of Natalie Altieri

In Memory of Elizabeth Hagelin

Paul and JoAnn Marcinkoski Thomas and Sue Tuxill

William and Barbara Eaton

In Memory of Alfred Anderson

In Honor of Joy Hagelin, Barbara Eaton and Anita Meeker

Denis and Barbara Feld Dr. DuWayne and Dorothy Hansen Zenon and Natalie Miahky

Barbara Feld

In Memory of Jeanette Bertsch

Barbara Feld

Brian and Judith Allen Judith Bertsch and Family Linda Carr Denis and Barbara Feld Robert and Beverley Fischer Eleanor Freeman Tom and Mikki Green Bruce and Joy Hagelin Jarrod Hartzler DuWayne and Dorothy Hansen Jon and Martha Kelly Dorothy and Peter Lepp Anita Meeker

In Memory of Eugene Mancini

In Memory of Wanda Brechbuhler Kittie Clarke In Honor of Mary Ann and Stephen Griebling’s 60th Anniversary Bob and Beverley Fischer Bruce and Joy Hagelin In Memory of Craig Hagelin Denis and Barbara Feld William and Barbara Eaton

In Memory of Eileen “Tootie” Hawk

Toshie Haga In Memory of David Meeker Drs. Mark and Sandra Auburn Susan Bailey Floy and Lee Barthel Patricia Basile William P. Blair III Maryanne Buchanan Elizabeth Butler Betty Dalton William and Barbara Eaton Roger and Ann Edwards Denis and Barbara Feld Chuck and Judy Gerdes Carol Goodall Joy and Bruce Hagelin Larue Hall Jarrod Hartzler Dr. Tom and Mary Ann Jackson Jon and Martha Kelly Francis and Earline Lenkowski Peter and Dorothy Lepp Barbara MacGregor Natalie Miahky

Elizabeth Sandwick Virginia Scott Ken and Pat Suchan Mary Yeager In Memory of Zenon Miahky Betty Dalton Denis and Barbara Feld Robert and Beverley Fischer Laura Lee Garfinkel Bruce and Joy Hagelin DuWayne and Dottie Hansen Jarrod Hartzler Dorothy and Peter Lepp Anita Meeker Natalie, Paul and Stephen Miahky Walter Pechenuk In Memory of Callie Ann Reid William and Barbara Eaton In Memory of Frank Reid William and Barbara Eaton In Memory of Cynthia J. Stefanik Robert and Cynthia Donal Robert and Beverley Fischer Bruce and Joy Hagelin Phyllis Hall Jarrod Hartzler Peter and Dorothy Lepp Anita Meeker Natalie Miahky In Memory of Jean Swinehart Joan Beach

**OPEN LATE**

**OPEN LATE**

1 W. Exchange St. 330-475-1600 JOIN US BEFORE OR AFTER THE SH Monday thruLATE** Saturday 11 am—11 pm Sun 10 **OPEN **OPEN LATE** **OPEN LATE** visit our website briccorestaurants.com fo W.Exchange Exchange St. St.at 330-475-1600 1 1W. St. 330-475-1600 1 W. Exchange 330-475-1600 JOIN US BEFORE OR AFTER THE SHOW JOIN US BEFORE OR AFTER THE SHOW links to our locations in Fairlawn, Kent and the M JOIN US BEFORE OR AFTER THE SHOW

1 W. Exchange St. 330-475-1600 Saturday 11 am—11 pm pm Sun 10 am—11 pmpm Monday thru Saturday 11 am—11 am—11 JOIN US BEFORE OR AFTER THE SHOW Monday thru Monday thru Saturday 11 am—11 pm SunSun 10 10 am—11 pm visit our website at briccorestaurants.com hours and Monday thru Saturday 11 am—11 pm Sun 10 am—11 pmour website visit at briccorestaurants.com for for hours and visit our website at briccorestaurants.com for hours and links to our locations in Fairlawn, and the Merriman Valley visit our website at briccorestaurants.com for links hoursto and our locations in Fairlawn, KentKent and the Merriman Valley links to our locations in Fairlawn, Kent and the Merriman Valley links to our locations in Fairlawn, Kent and the Merriman Valley

Presenting the Finest

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2016-2017 Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+ GAR Foundation John S. and James L. Knight Foundation Margaret Clark Morgan Foundation Louis S. & Mary Myers Foundation Ohio Arts Council $10,000 to $24,999 Community Fund – Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation John A. McAlonan Fund of Akron Community Foundation Gertrude F. Orr Trust Advised F und of Akron Community Foundation $5,000 to $9,999 Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust

Charles E. & Mabel M. Ritchie Memorial Foundation Lloyd L. & Louise K. Smith Foundation Welty Family Foundation $1,000 to $4,999 Akron/Summit Convention & Visitors Bureau Arts Midwest Touring Fund Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee Lehner Family Foundation Beatrice K. McDowell Family Fund R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation Sisler McFawn Foundation $200 to $999 KeyBank Foundation Community Leadership Fund Maynard Family Foundation W. Paul Mills and Thora J. Mills Memorial Foundation

2016-17 Concert Season Sunday, November 13 4 PM Always Something Sings … with Akron Chamber Strings Saturday, December 17 4 PM The Skies Rejoice: Carols for the Season Born … with the Paragon Brass Quintet

Laura R. and Lucian Q. Moffitt Foundation Richard and Alita Rogers Family Foundation Corporate Partners Akron Tool & Die Co. Nelson Development In-kind Services Akron Beacon Journal ClevelandClassical.com Cogneato Hilton Akron/Fairlawn ideastream® Labels and Letters Mustard Seed Market & Café Sheraton Suites Akron/ Cuyahoga Falls Steinway Piano GalleryCleveland The University of Akron School of Music WKSU FM Wooster Color Point WYSU-FM

Samuel Gordon, Artistic Director Sunday, February 19 4 PM All Vivaldi program featuring the magnificent Gloria … with Akron Baroque Sunday, April 23 4 PM My Song In the Night Concerts at Faith Lutheran Church 2726 W. Market St., Akron, OH

All concerts are free and open to the public. Hear the chamber choir everyone raves about!

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tuesdaymusical.org n 330.761.3460

tuesday musical 2016-2017 Board of Directors

Executive Committee

President Laurie Gilles Vice President/President Elect Paul Filon

Treasurer Cheryl Lyon

Secretary Magdalena McClure

Governance Committee Chair Bob Fischer

Committee Chairs

Brahms Allegro Chair Cheryl Boigegrain

Development Chair Charles Nelson

Education/Student Voucher Chair Natalie Miahky

Finance Chair Cheryl Lyon

Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair Anita Meeker

Member Program Chair Mary Ann Griebling

Scholarship Chair George Pope

At-large Members Linda Liesem, Teresa Good,

& Mary Jo Lockshin Staff

Executive & Artistic Director Jarrod Hartzler

Director of Development & Communications Cyndee Snider

Artistic Administrator Karla Jenkins

Finance Administrator Gail Wild

Arts Administration Intern Moneeb Iqbal Program art direction by Live Publishing Co.

Presenting the Finest

27

T HE

CLEVEL AND ORC HE STR A A T

T H E

M O V I E S

WEST SIDE STORY

Experience this classic film on the big screen with the original score performed live!

JUNE JUNE JUNE JUNE

1 — Thursday at 7:00 p.m.

2 — Friday at 7:00 p.m.

3 — Saturday at 7:00 p.m.

4 — Sunday at 3:00 p.m.

at Severance Hall

The Cleveland Orchestra Brett Mitchell, conductor Celebrate the 50th anniversary of this iconic film, as The Cleveland Orchestra plays Leonard Bernstein’s electrifying score live while the re-mastered film is shown in hi- def on the big screen with the original vocals and dialog. Winner of ten Academy Awards®. music by Leonard Bernstein and Irwin Kostal screenplay by Ernest Lehman based on “West Side Story”

by Jerome Robbins, Leonard Bernstein, Stephen Sondheim, and Arthur Laurents directed by Robert Wise and Jerome Robbins presented by arrangement with MGM © all rights reserved

216-231-1111 clevelandorchestra.com

TICKETS

THE OPERA EVENT OF THE SEASON

OPE R A IN FIVE AC TS

BY C L AU D E D E B U S SY The Cleveland Orchestra conducted by Franz Welser-Möst stage direction by Yuval Sharon set design by Mimi Lien lighting and projection design by Jason Thompson costume design Ann Closs-Farley choreography by Danielle Agami featuring Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande) Hanno Müller-Brachmann, bass-baritone (Golaud) Peter Rose, bass (Arkel) Nancy Maultsby, mezzo-soprano (Geneviève) Julie Mathevet, soprano (Yniold) David Castillo, baritone (Doctor/Shepherd) and the Cleveland Orchestra Chamber Chorus (Sung in French with English supertitles)

SEVERANCE HALL MAY 2 — TUESDAY at 7:30 p.m.

MAY 4 — THURSDAY at 7:30 p.m.

MAY 6 — SATURDAY at 7:30 p.m.

T HE

CLEVEL AND ORC HE STR A

Luminous and hypnotic — Pelléas and Mélisande is among the most magical and mezmerizing of all opera scores. Composed when Impressionism was a new and radical force, it was Claude Debussy’s only completed opera. This tale of two fallen lovers resonates with mystery and meaning.

Debussy’s beautiful depiction transforms the unending musical longing that Richard Wagner had pioneered with Tristan and Isolde into a tragedy of unique power. It is presented at Severance Hall in a made-for-Cleveland production directed

by Yuval Sharon (The Cunning Little Vixen) filled with dream-like realism.

216-231-1111 clevelandorchestra.com

TICKETS

House Notes Parking Beginning at 5 p.m. for evening concerts and 12:30 p.m. for Sunday concerts, special event parking is available at $5 per vehicle in the EJ Thomas Hall parking deck or in surrounding campus lots.

Late Seating Out of consideration for other audience members and the performers, latecomers will be seated at a suitable pause in the program.

Emergency Numbers Physicians and others expecting calls are requested to leave their name and seating location with the Head Usher upon arrival. Please leave your seat location with the person(s) who may need to reach you in case of an emergency and ask them to call EJ Thomas Hall at 330.972.6828.

Pre-concert Talks Free Pre-concert Talks, designed to enrich the concertgoing experience, are presented one hour before most Tuesday Musical concerts and last 30 minutes.

Intermission Intermissions are 20 minutes in length. The flashing of the lobby lights is your signal to return to your seat for the start of the performance.

Special Accommodations If you have special seating requirements, please inform the Ticket Office when you place your ticket order. EJ Thomas Hall has wheelchair accommodations and other seating services for the physically challenged in both the Orchestra and Grand Tier sections. Handicapped parking is available in the EJ Thomas Hall deck and the North parking deck accessed from both Forge St. and Buchtel Ave.; a valid parking permit must be displayed.

A special sound system for the hearing impaired and large print program notes are available, free of charge, with advance notice. Please see the Head Usher for the sound system device and call the Tuesday Musical office to request the program notes.

Restrooms Public restrooms are located in the Robertson Lobby of EJ Thomas Hall. The ladies’ room can be accessed from the odd-numbered entry doors and the men’s room access is from the even-numbered entry doors.

The center stairs in the Robertson Lobby lead to both restrooms. Accessible restrooms are located at the bottom of each ramp.

Cameras, Audio Recorders & Video Equipment Cameras, video and audio recording devices of any kind are prohibited at all performances. Our ushers are instructed to retrieve these prohibited items from patrons in the auditorium.

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Paging Devices, Phones & Hearing Aids All electronic and mechanical devices – including pagers, cellular telephones, and wrist-watch alarms – must be turned off while in the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing device and adjust it accordingly.

Refreshments Bar service is offered in the center lobby before concerts and at intermission. Soda and light snacks are also available in the lobby. The EJ Café, located in the Herberich Lobby, offers appetizers, desserts, gourmet coffees, espresso and cappuccino. Drinking fountains are in the center lobby.

Smoke Free Theatre Smoking is not permitted anywhere inside EJ Thomas Hall, but designated smoking areas are located outside the building.

Event Cancellation On very rare occasions, severe weather forces EJ Thomas Hall to cancel or postpone an event.

Cancellation information is available by calling the Tuesday Musical office at 330.761.3460.

Security Policy Customer safety and security is of the upmost importance. All patrons entering the facility must have a ticket for that day’s event. There is a police presence both inside and outside of the theatre.

Program Information For information about any Tuesday Musical concert, please call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org.

Ticket Information Single Tickets To purchase single tickets to any Tuesday Musical concert, call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org.

Tuesday Musical Association 1041 West Market Street, Suite 200 Akron, OH 44313-7103 Releasing Tickets Tuesday Musical subscribers who are not able to attend a concert are encouraged to release their tickets 24 hours prior to the concert. In exchange for their tickets, subscribers may receive tickets to a different 2016/2017 Tuesday Musical concert (some restrictions may apply) or receive a charitable donation receipt for the value of the tickets. Please remember to call the office 24 hours PRIOR to the concert. Your seats are the best in the house and someone else would love the experience of sitting just where you do.

tuesdaymusical.org n 330.761.3460

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